86 Lílian Campesato especially when it is confronted with certain musical ideas established in the modern period. We will emphasize three initiatives that seem interesting to problematize this issue: John Oswald's pluderphonics, Christian Marclay's con-ceptualism, and the sound radicalism of the noise movement.In each of these examples, the role of noise is reconfigured according to its spe-cific context. On the one hand, noise can be repressed, because when it is in-corporated into music it ceases to be noise. But on the other hand, it can be sublimated, that is, it can be raised to a higher level: this is the case of Japanese Noise.During the experience of a concert of noise, this process of musicalization be-comes turbulent, creating an environment of constant annoyance. The situation remains disturbing from beginning to end, creating listening relationship that is close to a fight for survival, bordering the limits of the body. In this context noise remains a result of a specific situation, which resists generalizations, abstractions and analysis. It is the experience of a contingency. In this case noise is sublimated, augmented, almost as if it were to be worshiped.In a way, Christian Marclay and John Oswald are examples of a conceptual turn in relation to sound and music. Both produce a non-cochlear sonic art (in the terms proposed by Seth Kim-Cohen), while Japanese noise is directed to a purely cochlear sound art in its strictest sense: it is pure sensation.6 CONCLUSION What we are seeking to point out here – perhaps in an overly simplified way – is that there is a kind of dialectic of the noise, or rather, a dialectic in the opposition between signal and noise. There seems to be a process of questioning the music from which it resorts to noise as an element of destabilization and displacement of functions. Therefore, this noise becomes musical and then it becomes responsible for the emergence of a new questioning. This recurrent process can be understood as an element of propulsion of musical language, one that incorporates elements of instability to create new states of stability.Douglas Kahn pointed to the avant-garde process of silencing noise in music. The avant-garde has taken noise from real life, the noise that really caused discomfort (war, industry, psychosis, drugs) and transformed it into metaphors and symbols of noise:Noise in the avant-garde was linked to the sounds of military combat, the specter and incursion of technology and industrialism, the forms of popular culture and public demonstrations, nature and the sounds of other species, religious and occult activities, psychosis and drug-induced experiences, the music and languages of cultures outside reigning cultures of European society, and the sounds of the domestic sphere gendered female in contrast to the male face of the noisy parts of the avant-garde.The avant-garde explores noise within the arts, transforming its complex and subversive content in aesthetic material.